REVIEW: Motionless in White - Decades

Twenty years into their career, MOTIONLESS IN WHITE could easily have settled into a victory lap. Instead, Decades finds the Scranton outfit doing the exact opposite. Their seventh studio album embraces everything that has made them one of modern metal’s most recognisable bands, while confidently pushing further into industrial, electronic, and gothic territory. Rather than just looking backwards, Decades celebrates the band’s past by proving they’re still evolving, refining the sound they’ve spent two decades building without losing the heart that got them here in the first place. 

That confidence is apparent from the opening seconds. Title track Decades explodes into life with the defiant declaration, “I’m still fucking here”, immediately framing the album as both a celebration of longevity and a refusal to become complacent. It’s an explosive opener, packed with towering riffs and an enormous closing breakdown that serves as a reminder that MOTIONLESS IN WHITE remain every bit as capable of delivering crushing heaviness as they have been for the past two decades.

While industrial textures, electronic production, and synth-driven passages have always existed within MOTIONLESS IN WHITE’s sound, they take on a much more central role in this album without washing out the band’s heavy foundations. log_in//crash_out establishes this immediately, combining mechanical synths and pounding riffs with lyrics that explore society’s dependence on technology, painting a bleak but increasingly believable picture of a world where digital validation has replaced genuine human connection. It’s one of the album’s sharpest lyrical moments, balancing biting social commentary with memorable religious imagery and just enough tongue-in-cheek humour to stop it becoming preachy.

The pace shifts dramatically with R.I.P., a duet with SKYLAR GREY that strips away much of the aggression in favour of vulnerability. It’s impossible not to draw comparisons to Disguise standout Another Life, but this feels like a more mature evolution rather than a retreat. SKYLAR GREY’s soaring vocals provide the perfect counterpoint to Chris Motionless’ understated performance. While his clean vocals have never relied on technical flashiness, that’s exactly what makes them effective here. They feel sincere and unpolished in the best possible way, allowing the heartbreak at the centre of the song to resonate naturally, instead of disappearing beneath layers of studio production. 

Fight Like Hell quickly reignites the album’s energy, briefly nodding to nu-metal in one of the verses, while also being a reference to the WWE theme Demon in Your Dreams, which the band wrote for Rhea Ripley. There’s an undeniable groove running through this song, and while it may not be the record’s heaviest or most immediately memorable moment, it’s an infectious reminder that the band have never been afraid to wear their influences on their sleeve.

The album’s intensity reaches its peak on Playing God. Featuring SLIPKNOT’s Corey Taylor, it’s one of the most ferocious songs MOTIONLESS IN WHITE have ever recorded. Furious drumming, industrial-infused riffs, and an absolutely punishing breakdown make for a track that feels tailor-made for live shows, while its condemnation of toxic online culture gives the aggression genuine purpose. Corey Taylor’s guest appearance never overshadows the band either, instead elevating a song that already feels like it’s become a fan favourite.

All That I’ve Ever Known dials things back again without sacrificing momentum. Electronic textures continue to play a major role here, but they’re woven into a melodic metalcore framework that ultimately gives way to an unexpected techno-inspired breakdown. It’s another example of the band’s willingness to experiment, and rather than feeling forced, it slots naturally into the band’s expansive sonic identity.

The second half of the album leans even further into MOTIONLESS IN WHITE’s theatrical side. Blood Rave is among the record’s most entertaining moments, bouncing effortlessly between infectious electronic passages and crushing heaviness, before paying homage to Blade’s legendary nightclub sequence with a clever musical nod that’s sure to put a smile on fans’ faces. Love At First Bite follows with gleeful gothic camp, embracing vampire imagery, theatrical organs, and knowingly playful lyrics that recall the spirit of fan favourites like the Undead Ahead tracks. It’s ridiculous in all the right ways, demonstrating that even as the band matures, they haven’t lost their sense of fun.

Count Back From Zero offers one of Chris Motionless’ strongest clean vocal performances on the album, delivering its apocalyptic themes with a raw sincerity that makes the chorus particularly memorable. It’s also a reminder that MOTIONLESS IN WHITE can make just as much impact through electronic flourishes and atmospheric builds as they can through overwhelming heaviness. Those textures remain ever-present, culminating in a breakdown that favours industrial atmosphere over just sheer brutality.

That confidence carries into Blood Pact, which opens with trap and hip-hop inspired rhythms before evolving into one of the album’s most swaggering tracks. Its defiant lyricism and triumphant attitude make it feel like another statement of resilience, reinforcing the album’s recurring message that MOTIONLESS IN WHITE have survived every obstacle thrown their way and emerged stronger because of it. 

By the time Afraid of the Dark arrives, it feels like the emotional and thematic culmination of everything that came before. Balancing crushing heaviness with soaring melodies, industrial touches, and an uplifting message about perseverance, it captures the band’s past, present, and future in a single song. Chris Motionless’ seamless transitions between harsh and clean vocals are particularly striking, while its closing sentiment of finding strength through others resonates deeply with long time fans who have found comfort in the band’s music over the years. 

Sunglasses At Night is perhaps the album’s most unexpected inclusion, covering Corey Hart’s iconic 1980s synth-pop anthem as a straight-up cover rather than the heavier reimagining as some may have expected. Knowing it’s a cover makes its place on Decades feel far more natural, especially on an album that so confidently embraces electronic and synthy influences throughout. Listeners unfamiliar with the original may initially find it to be one of the record’s more unusual moments, but viewed in context it feels less like a stylistic detour and more like another reflection of the band’s wide-ranging influences. It’s a playful addition that reinforces MOTIONLESS IN WHITE’s willingness to follow their own creative instincts rather than adhere to expectations.

The album rounds things out with two bonus tracks that feel far more substantial than afterthoughts. Hollywood trades much of the album’s aggression for sleek, neon-soaked hard rock, wrapping its seductive atmosphere around an unexpectedly sharp critique of the entertainment industry and its ruthless obsession with success. The alternate version of Fight Like Hell featuring OVTLIER further embraces the song’s nu-metal influences, with the guest appearance making that stylistic choice feel even more deliberate, while adding a fresh perspective to an already enjoyable track. 

What makes Decades such a rewarding listen isn’t simply that it’s heavier than some of MOTIONLESS IN WHITE’s previous work. It’s that every venture feels purposeful. The industrial electronics, gothic theatrics, emotional ballads, and moments of outright savagery all exist in service of a band that refuses to become predictable. Rather than abandoning their roots, MOTIONLESS IN WHITE have found new ways to strengthen them, building on everything they’ve learned over the past twenty years.

For a band celebrating such a significant milestone, that may be Decades’ greatest achievement. It isn’t a nostalgic look backwards or an attempt to reinvent themselves completely. Instead, it’s the sound of MOTIONLESS IN WHITE taking everything they’ve always done well and refining it into one of the strongest, most cohesive, and confidently ambitious records of their career. Twenty years on, they’re still here and far from finished.

Score: 9/10

Decades will be released on 17th July 2026 via Roadrunner Records.

Words: Zuzanna Pazola

Photos: Motionless In White